TEMPLE OF SHADOWS

The awkward transition from the André Matos era is over; Brazil's power metal masters are trying on a new mantle--one that really fits them well: with their usual impressive display of compositional eclecticism and skill they have made a stab a the "prog theater" realm--an operatic concept album that explores multiple musical styles within a stage theater-like format all the while retaining their metal foundations--and it works! It's good! And this doesn't even give credit for the incredibly high level of musicianship exhibited by all of the band members!

1. "Deus Le Volt!" (0:52) nice cinematic intro to ?

2. "Spread Your Fire" (4:25) rapid fire metal with lead guitar shredding that makes way for gruff Survivor-like aggressive lead vocal with antiphonal choral background vocals. Interesting. Keyboard work makes it seem as if there is an orchestra involved as well. Operatic female vocal helping out in the third minute before Hammy-speed instrumental passage ensues. Great musicianship. While I appreciate the compositional skill and technical and support prowess necessary to pull this off, I'm not sure I like the music. (8.667/10)

3. "Angels And Demons" (4:11) take a simple Thin Lizzy song and speed up all instrumental tracks by five and you'll get a song like this. Eduardo Falaschi's voice is sounding a little old (or strained). Technically quite impressive. (8.667/10)

4. "Waiting Silence" (4:55) excellent 1980s heavy metal brought into the 21st Century. Again, Eduardo's voice is sounding like he's really pressing to get his tone and volume. Nice 1980s chords and melodies. Impressive solos. (8.75/10)

5. "Wishing Well" (4:00) acoustic guitars, synth and Tommy Shaw-like vocal give this opening a very STYX like feel. Even when it hits full stride it has a classic rock feel. (8.75/10)

6. "The Temple Of Hate" (5:13) back to the Thin Lizzy school of hyperdrive. Don't like the 1980s drum sound. How those musicians retain control and synchrony when spewing out notes that fast I'll never know. (8.75/10)

7. "The Shadow Hunter" (8:04) after a very impressive acoustic guitar intro this fully Latin song turns Probably the most impressive construct on the album for its dynamics and stylistic range. That pervasive Latin flare has a lot to do with its magic--that and the more humane drumming and percussion. There are even some Yes-like moments (the multi-voice fifth minute). Great sense of melody from the guitarist--even during his solos. My second favorite song on the album. (13.5/15)

8. "No Pain For The Dead" (5:05) more awesome acoustic guitar--this time doubled up with two instruments. Eduardo tries a very gentle, stage-like ballad vocal approach until the heavy metal chords and walls of sound enter and push him into his usual gristful-belting manner. Once the music settles down, it returns to a very Broadway/theatric style--and so does Eduardo's voice style. Great cello and masterful synth strings passage preps us for the entrance of the gorgeous voice of Sabine Edelsbacher in a performance that yet again affirms the band's Broadway/theatric approach. Another top three song for me. (9/10)

9. "Winds Of Destination" (6:56) cello introduces the pace and galloping theme that follows. Impressive Metallica-like jaunt precedes and supports guest Hansi Kürsch and Eduardo's vocal duet. In the second minute, after the first verse, the music devolves into a piano-based classical section. Again, the theatricity of the live stage comes to mind here. Nice vocal here. At 3:48 we shift again onto the autostrada--this one not quite as wild and unbound as previous songs, more like a healthy drive in your convertable sports car through the Italian countryside. After some more impressive guitar shredding the music shifts into a higher gear at 5:58 in order to build toward a finish of choral vocal crescendo. (13.25/15)

10. "Sprouts Of Time" (5:09) weird, out of place song, that seems to, once again, seem to come from some kind of theatrical production--you know: how a character in the play steps to the side to sing a solo aside while the band's music takes on a whole different style not heard anywhere else in the play. It's a great song even if it does sound and feel as if we're getting to the end--or at least the dénouement of one of the characters or themes in the plot. (9/10)

11. "Morning Star" (7:39) yet another style explore! This is truly impressive! The band seem capable--even masterful--at taking on any and all musical styles. This one is a more pedestrian, laid back style --a musical style that I really like--at least that is until 2:28 when the metal power chords join in--once again transforming Eduardo into a metal singer, not just a professional stage theater performer. Nice interlude in the fourth minute to remind us of the song's pedestrian roots, but then we are transported again into a Thin Lizzy world of dizzying metal skill and instrumental prowess. Again, I am so impressed with the attention to melody within the composition and performance of these parts. If every part of every metal song could sound like this I'd be a fan. The awesome key change at 6:20 is marred a bit by Eduardo's thinning voice in those high notes. My favorite long song on the album. (14/15)

12. "Late Redemption" (4:55) gorgeous classical guitar with "strings" and the voice of Brazilian music legend Milton Nascimento leading the ghost-like background voices and first chorus. Edu's vocal performance exudes his respect for both this style of music as well as his singing cohort. Interesting rhythm percussion at the end of the second minute before the song breaks out into a heavy theme for a different chorus. From here out it's metal music at its most orchestral. Excellent! What an ingenious song construct! Mega kudos to the band for its conception and execution! My favorite piece of prog theater on the album. (10/10)

13. "Gate XIII" (5:04) an orchestral piece that sounds like an overture to a quest-themed musical or even an opera. Quite lovely. My guess is that composer and arranger Rafael Bittencourt has classical theatre dreams or leanings. (10/10)

Total Time: 66:28

Very impressive speed and technical skills on display throughout this album--even in Eduardo's "old" sounding theatric voice. But this is not always the type of music that my spirit desires. I do, however, love the concept of religious doubt and answer seeking explored in the story--especially in that it is set in the early Inquisition era.

A-/five stars; a minor masterpiece of theatric symphonic metal; a well-produced album of impressive musicianship. This is probably a masterpiece in the world of metal worship. It is also exactly the kind of album I would put forward as an example to all aspiring progressive rock musicians for what is possible: an example of the heights of planning, composition, arrangement, execution, and production that music is capable of--and not just prog metal or metal but all progressive rock music. Truly a wonderful body of songs.